Yvonne Rainer’s artistic output is a wellspring of innovation and singularity. In 1962, she co-founded the Judson Dance Theater and created new worlds with experimental, expressive movement that stripped dance of its spectacular nature in favor of creating a new language through the human body. But as daring as her choreography happened to be, she found the end result limiting at the time and looked for other outlets of expression. This is how Rainer came to filmmaking, and she took what she learned from dance to once again trail-blaze a path for her voice — this time in the landscape of art films in New York from the ’70s onward. To celebrate her work, the Film Society of Lincoln Center is offering a rare glimpse into the filmography of Rainer with a retrospective spanning her entire career, as well as influences, from July 21-27.
In the late ’60s, Rainer began infusing...
In the late ’60s, Rainer began infusing...
- 7/21/2017
- by The Film Stage
- The Film Stage
Pregnancy and childbirth are intensely physical events. Despite their bodily primacy, these experiences are freighted with various significations, running the gamut from the woman-centered skill sets of midwifery to the all-too-frequent scaremongering and misinformation of anti-choice politics. This is not surprising since bodies have their semiotic dimension. Everything has meaning. However, the fact that these human events are unavoidably located on and in the female body—a body whose very generative capacity has historically made it an object of fear—seems to produce an excess of verbiage, a lot of it denigrating or punitive. And often this discussion leaves little room for other knowledges—the haptic, the gestural, the somatic.So what if, for a brief moment, we observed silence? To be clear, silence is no solution to political aggression against women. The more persistent the braying of misogynist forces who claim to know best, the louder the protests must be,...
- 1/18/2017
- MUBI
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